These works lay on the verge of the audible from their conception till their completion. Not furiously silent but still silent enough to make the act of listening a part of the work itself.
Controlled feedback is the main expressive mechanism here. Microphone placement, processing of the feedback path and occasional faint non-musical sounds as feedback catalysts or inhibitors play role in the process. Working at extremely low overall levels adds the benefit of introducing the recording equipment's deficiencies into the mix. Indeed, these (normally undesirable) artifacts were the sole method of coloring the feedback signal in the first work, "Environ", where no intentionally produced sounds were used. "Camera" uses the sounds of a zooming digital camera lens as a method of feedback control, affecting the DSP units in the feedback chain. "Water Shield" employs a similar approach but using water dripping and running on tin foil, and different means of real-time processing.
The raw material was subjected to additional processing to enhance various harmonic and rhythmic properties of the sounds that were not immediately audible in the first place. Additional digital elements were introduced scarcely in "Camera" and "Water Shield" to serve as slight accents and sort of guides for the overall perception of the works.
The volume of the resulting tracks is also kept relatively low. This allows for a different and personal listening experience based on the environment, playing equipment and amplification.